Johannes Birringer - Academia.edu (original) (raw)
Papers by Johannes Birringer
Choreographic principles of composition are largely directed at the creation of movement and the ... more Choreographic principles of composition are largely directed at the creation of movement and the temporal organization of moving bodies in space. Some choreographers think of this process as “temporary drawings” (Sidi Larbi Cherkaoui), others work with complexity theories in mind and develop spatial methodologies for bodily extensions into environments that negotiate the intervals between presence (states of being) and transmutable movement in multiple ways (William Forsythe). In tanztheater, the dancers’ presence resonates with darker undertones, emotional turmoils acted out through obsessively repeated gestures and acute physical/psychic self-revelation (Pina Bausch)[1]. In comparison, Japanese butoh dance contains its metaphysics in movement that slowly, microscopically, sometimes imperceptibly, lives and breathes an interior world, the body metamorphosing between spirit, flesh, and matter, animal and human forms, ineffable shapes.
Performance Research, 2006
... There are links to the relevant datasets from all FAC B articles. All subscribers to the FAC ... more ... There are links to the relevant datasets from all FAC B articles. All subscribers to the FAC B journal will be granted access to the entire database. ... Rehearsals with dancer Ermira Goro took place in the summer 2006 at Interaktionslabor Göttelborn (http://interaktionslabor.de). ...
Leonardo, 2013
Although interest in wearable/mobile technologies in today's world of social networks, fashio... more Although interest in wearable/mobile technologies in today's world of social networks, fashion and lifestyle industries is on the rise, the performing arts rarely integrate body-worn technologies into their dramaturgies. After some pioneering efforts in music and audio art, dance and theater practices have slowly begun to benefit from performance design investigating “sounding” garments that transduce the sensuality of movement gestures through the extension of wearable instrument-costumes. Describing their choreographic installation UKIYO (2009-) as an example of sound-motion-design research, the authors highlight integrated methods for creating particularized audiophonic, amplificatory and kinaesonic garments to be worn by dancers, actors and musicians in interactive/responsive environments.
Digital Creativity, 2009
Wearable computing devices worn on the body provide the potential for digital interaction in the ... more Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasizes not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. "Wearable Performance" briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with "design in motion" and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies, and digital animation. The concept of an "evolving" garment design that is materialized (mobilized) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the "connective tissues" and "wearabilities" of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment.
Atmospheres of Chorographic Design The artistic and technical investigations of the Design and Pe... more Atmospheres of Chorographic Design The artistic and technical investigations of the Design and Performance Lab, based at Brunel University in London (UK) and co-directed by Johannes Birringer and Michèle Danjoux, have encompassed research into how costumes and specially designed body-worn technologies affect movement expression. They have also addressed the question of designing costumes for use in performative or proactive environments which themselves are conceived as formative, not built or constructed in a stable form.
Comparative History of Literatures in European Languages, 1997
2.2. Postmodernism and Theatrical Performance JOHANNES BIRRINGER Reality is changing too quickly.... more 2.2. Postmodernism and Theatrical Performance JOHANNES BIRRINGER Reality is changing too quickly. As playwrights, we have not been able to react yet. Slobodan Snajder. Zagreb 1992 Theatre/Discourse/Performance Art If the discourses of postmodernism have ...
TDR (1988-), 1988
An effort to translate your "TDR Comment: Ways of Speaking, Loci of Cognition" (Schechn... more An effort to translate your "TDR Comment: Ways of Speaking, Loci of Cognition" (Schechner 1987) to my own situation or to other political contexts I am aware of would quite immediately lead to conclusions differ-ent from the ones you draw, namely that political thought and ...
The Drama Review: TDR, 1986
It is not too long ago that the 1984 Olympic Arts Festival in Los Ange-les, with its marathon pro... more It is not too long ago that the 1984 Olympic Arts Festival in Los Ange-les, with its marathon program of more than 400 performances and exhi-bitions from 18 countries, went out of its way to demonstrate the seduc-tiveness of spectacular consumption in the name of the arts. Or, rather, in the ...
Virtual Creativity, 2017
Wemoveinslow-motion, creepinginch-by-inchthroughthemilk-light beneathbrownbulbsofthetamarind. Wer... more Wemoveinslow-motion, creepinginch-by-inchthroughthemilk-light beneathbrownbulbsofthetamarind. Weraftoverthe crack gap gulf ofmillennia Clingingtoweedandlog: We,thedauntless We,thenight-wanderers We,themoonlitacrobats ("Red Ghosts/Shadows of the Dawn," kimosphere no. 4) Immersion is the term that has gained much currency in recent years, but I believe its history is one dominated by an ocular emphasis-visuality and visual stimulation also being of main importance in the world of computer gaming's POV. At the same time, one ought not to forget the manual dexterity and physical reflexes the gamer, the ability to focus. The poetry lines quoted in the epigraph are from a game that can be "played" at a computer screen (while the player is listening to a recitation of the poem and scrolls the cursor along the lines), but this game is set up as but one station in a larger theatrical architecture in which the real and the virtual merge, with the virtual complementing the real in a nearly tangible way as these realities are layered on top of and within each other. The layering invites and proposes
This chapter introduces crossovers between fashion, performance, music and sound art, investigati... more This chapter introduces crossovers between fashion, performance, music and sound art, investigating analog and digital techniques used for the construction of “sounding” costumes which play a significant part in the overall scenographic and choreographic organization of real-time interactive art and performance. Addressing the multifaceted, dynamic and relational aspects of garments/accessories, technologies and performing bodies, the authors refer to some historical examples of sound instruments, body instruments and physiological instrumentation (encompassing sculptural wearables, body-worn technologies with wired or wireless sensors and other capture modalities, as well as amplificatory wearables). Integrated methods are highlighted for creating such kinaesonic choreographies for the contemporary intermedial theater and the expanding sector of media arts and mobile arts.
Einstein on the Beach, 2019
prémisse Voici les faits: en 1968 je travaille à «Internote Service», Fritsch est donc mon patron... more prémisse Voici les faits: en 1968 je travaille à «Internote Service», Fritsch est donc mon patron, nous décidons de réaliser en commun un graffiti qui aurait l'accord des deux, Fritsch que je vais appeler Killian car c'était le prénom celte qu'il s'était choisi, pro-situationniste, parisien et moi qui ai gardé mon prénom de Bernard donné par mes parents en 1943, catholique, bourgeois et provincial. C'est là une des magies de '68 que d'avoir fait rencontrer et se parler des gens aussi différents. Nous avons commencé le travail sur le graffiti un soir, fin mai, au café «La chope» place de la Contrescarpe actuellement café «Delmas». J'ai gardé le papier sur lequel nous notions nos propositions. Killian a ouvert le feu en écrivant sur le papier «les vieux ne font que justifier leurs investissements de sacrifices n'aspirons pas à être compris des sacrifiés» voila ce que j'appelle avoir le sens poétique. Je lui en fit la réflexion, il ratura et remplaça «compris des sacrifiés» par «compris des auto-sacrifiés». À relire le compte rendu de ce brain storming je réalise pourquoi il voulait ma participation, je n'avais pas des idées bien correctes pour l'époque, mais j'avais ce qui lui manquait: le swing.
Kinetic Atmospheres, 2021
Kinetic Atmospheres, 2021
We show that the final-state interaction perfectly explains the recent experimental data of BESII... more We show that the final-state interaction perfectly explains the recent experimental data of BESIII Collaboration on the near-threshold invariant-mass spectrum of ΛΛ in the process e + e − → φΛΛ. The position of peak in invariant-mass spectrum is above the threshold though the interaction of Λ andΛ is due to an attractive potential. This potential has a simple form and depends only on two parameters. We show that the invariant-mass spectrum is consistent with the quantum numbers J P C = 1 ++ and 2 ++ of ΛΛ pair but contradicts to J P C = 2 −+ .
Kinetic Atmospheres, 2021
Choreographic principles of composition are largely directed at the creation of movement and the ... more Choreographic principles of composition are largely directed at the creation of movement and the temporal organization of moving bodies in space. Some choreographers think of this process as “temporary drawings” (Sidi Larbi Cherkaoui), others work with complexity theories in mind and develop spatial methodologies for bodily extensions into environments that negotiate the intervals between presence (states of being) and transmutable movement in multiple ways (William Forsythe). In tanztheater, the dancers’ presence resonates with darker undertones, emotional turmoils acted out through obsessively repeated gestures and acute physical/psychic self-revelation (Pina Bausch)[1]. In comparison, Japanese butoh dance contains its metaphysics in movement that slowly, microscopically, sometimes imperceptibly, lives and breathes an interior world, the body metamorphosing between spirit, flesh, and matter, animal and human forms, ineffable shapes.
Performance Research, 2006
... There are links to the relevant datasets from all FAC B articles. All subscribers to the FAC ... more ... There are links to the relevant datasets from all FAC B articles. All subscribers to the FAC B journal will be granted access to the entire database. ... Rehearsals with dancer Ermira Goro took place in the summer 2006 at Interaktionslabor Göttelborn (http://interaktionslabor.de). ...
Leonardo, 2013
Although interest in wearable/mobile technologies in today's world of social networks, fashio... more Although interest in wearable/mobile technologies in today's world of social networks, fashion and lifestyle industries is on the rise, the performing arts rarely integrate body-worn technologies into their dramaturgies. After some pioneering efforts in music and audio art, dance and theater practices have slowly begun to benefit from performance design investigating “sounding” garments that transduce the sensuality of movement gestures through the extension of wearable instrument-costumes. Describing their choreographic installation UKIYO (2009-) as an example of sound-motion-design research, the authors highlight integrated methods for creating particularized audiophonic, amplificatory and kinaesonic garments to be worn by dancers, actors and musicians in interactive/responsive environments.
Digital Creativity, 2009
Wearable computing devices worn on the body provide the potential for digital interaction in the ... more Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasizes not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. "Wearable Performance" briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with "design in motion" and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies, and digital animation. The concept of an "evolving" garment design that is materialized (mobilized) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the "connective tissues" and "wearabilities" of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment.
Atmospheres of Chorographic Design The artistic and technical investigations of the Design and Pe... more Atmospheres of Chorographic Design The artistic and technical investigations of the Design and Performance Lab, based at Brunel University in London (UK) and co-directed by Johannes Birringer and Michèle Danjoux, have encompassed research into how costumes and specially designed body-worn technologies affect movement expression. They have also addressed the question of designing costumes for use in performative or proactive environments which themselves are conceived as formative, not built or constructed in a stable form.
Comparative History of Literatures in European Languages, 1997
2.2. Postmodernism and Theatrical Performance JOHANNES BIRRINGER Reality is changing too quickly.... more 2.2. Postmodernism and Theatrical Performance JOHANNES BIRRINGER Reality is changing too quickly. As playwrights, we have not been able to react yet. Slobodan Snajder. Zagreb 1992 Theatre/Discourse/Performance Art If the discourses of postmodernism have ...
TDR (1988-), 1988
An effort to translate your "TDR Comment: Ways of Speaking, Loci of Cognition" (Schechn... more An effort to translate your "TDR Comment: Ways of Speaking, Loci of Cognition" (Schechner 1987) to my own situation or to other political contexts I am aware of would quite immediately lead to conclusions differ-ent from the ones you draw, namely that political thought and ...
The Drama Review: TDR, 1986
It is not too long ago that the 1984 Olympic Arts Festival in Los Ange-les, with its marathon pro... more It is not too long ago that the 1984 Olympic Arts Festival in Los Ange-les, with its marathon program of more than 400 performances and exhi-bitions from 18 countries, went out of its way to demonstrate the seduc-tiveness of spectacular consumption in the name of the arts. Or, rather, in the ...
Virtual Creativity, 2017
Wemoveinslow-motion, creepinginch-by-inchthroughthemilk-light beneathbrownbulbsofthetamarind. Wer... more Wemoveinslow-motion, creepinginch-by-inchthroughthemilk-light beneathbrownbulbsofthetamarind. Weraftoverthe crack gap gulf ofmillennia Clingingtoweedandlog: We,thedauntless We,thenight-wanderers We,themoonlitacrobats ("Red Ghosts/Shadows of the Dawn," kimosphere no. 4) Immersion is the term that has gained much currency in recent years, but I believe its history is one dominated by an ocular emphasis-visuality and visual stimulation also being of main importance in the world of computer gaming's POV. At the same time, one ought not to forget the manual dexterity and physical reflexes the gamer, the ability to focus. The poetry lines quoted in the epigraph are from a game that can be "played" at a computer screen (while the player is listening to a recitation of the poem and scrolls the cursor along the lines), but this game is set up as but one station in a larger theatrical architecture in which the real and the virtual merge, with the virtual complementing the real in a nearly tangible way as these realities are layered on top of and within each other. The layering invites and proposes
This chapter introduces crossovers between fashion, performance, music and sound art, investigati... more This chapter introduces crossovers between fashion, performance, music and sound art, investigating analog and digital techniques used for the construction of “sounding” costumes which play a significant part in the overall scenographic and choreographic organization of real-time interactive art and performance. Addressing the multifaceted, dynamic and relational aspects of garments/accessories, technologies and performing bodies, the authors refer to some historical examples of sound instruments, body instruments and physiological instrumentation (encompassing sculptural wearables, body-worn technologies with wired or wireless sensors and other capture modalities, as well as amplificatory wearables). Integrated methods are highlighted for creating such kinaesonic choreographies for the contemporary intermedial theater and the expanding sector of media arts and mobile arts.
Einstein on the Beach, 2019
prémisse Voici les faits: en 1968 je travaille à «Internote Service», Fritsch est donc mon patron... more prémisse Voici les faits: en 1968 je travaille à «Internote Service», Fritsch est donc mon patron, nous décidons de réaliser en commun un graffiti qui aurait l'accord des deux, Fritsch que je vais appeler Killian car c'était le prénom celte qu'il s'était choisi, pro-situationniste, parisien et moi qui ai gardé mon prénom de Bernard donné par mes parents en 1943, catholique, bourgeois et provincial. C'est là une des magies de '68 que d'avoir fait rencontrer et se parler des gens aussi différents. Nous avons commencé le travail sur le graffiti un soir, fin mai, au café «La chope» place de la Contrescarpe actuellement café «Delmas». J'ai gardé le papier sur lequel nous notions nos propositions. Killian a ouvert le feu en écrivant sur le papier «les vieux ne font que justifier leurs investissements de sacrifices n'aspirons pas à être compris des sacrifiés» voila ce que j'appelle avoir le sens poétique. Je lui en fit la réflexion, il ratura et remplaça «compris des sacrifiés» par «compris des auto-sacrifiés». À relire le compte rendu de ce brain storming je réalise pourquoi il voulait ma participation, je n'avais pas des idées bien correctes pour l'époque, mais j'avais ce qui lui manquait: le swing.
Kinetic Atmospheres, 2021
Kinetic Atmospheres, 2021
We show that the final-state interaction perfectly explains the recent experimental data of BESII... more We show that the final-state interaction perfectly explains the recent experimental data of BESIII Collaboration on the near-threshold invariant-mass spectrum of ΛΛ in the process e + e − → φΛΛ. The position of peak in invariant-mass spectrum is above the threshold though the interaction of Λ andΛ is due to an attractive potential. This potential has a simple form and depends only on two parameters. We show that the invariant-mass spectrum is consistent with the quantum numbers J P C = 1 ++ and 2 ++ of ΛΛ pair but contradicts to J P C = 2 −+ .
Kinetic Atmospheres, 2021